Magical usage plays a significant role in William Shakespeare’s play The Tempest. However, who gets to use magic and in what ways? Why is Prospero painted the protagonist while Sycorax gets labeled a witch though both use magic? This thesis looks at how early modern English pedagogy shapes the use of magic in The Tempest. When magic is read as knowledge, then the pedagogy influencing early modern education dictates whose knowledge counts and is seen as correct and whose is erased and vilified. The epistemological formation happening in early modern England is apparent in The Tempest as Prospero uses magic as a means of control to puppeteer the outcome of the play, while Sycorax is both absent and voiceless. In this thesis I examine how the pedagogy present in early modern English schools and homes shapes the magical usage in The Tempest along gendered and racialized lines that ultimately creates an epistemology of empire.

This essay analyses the two main characters in John Fowles’s novel The Collector and the three characters Miranda, Ferdinand and Caliban in William Shakespeare’s play The Tempest, as well as the intertextual connection between them. The essay is based off the idea of intertextuality, which refers to a connection between texts. To study this connection, a comparative method is used. The character analysis is grounded upon Shlomith Rimmon- Kenan’s model for characterization. The essay concludes that the main characteristics of the characters in The Tempest are mirrored in the corresponding characters in The Collector. Miranda is kindhearted, empathic, brave, naïve, romanticizing, innocent and superior. Ferdinand and Caliban are both present in Clegg’s character, in which the former side is naïve, romanticizing, civilized, in control of his sexual urge and honorable; while the latter side is inhuman, a villain, violent, uncivilized, not in control of his sexual urge, incapable of change and does not show any remorse. The comparison of the two works also sheds light on the slave-motif that is present in The Collector, both in the inner struggle between Clegg’s two alter egon, as well as in his relationship with Miranda. / Denna uppsats analyserar de två huvudkaraktärerna i John Fowles roman The Collector och de tre karaktärerna Miranda, Ferdinand och Caliban i William Shakespeares pjäs The Tempest samt den intertextuella kopplingen dem emellan. Uppsatsen utgår från begreppet intertextualitet som indikerar ett samband mellan texter. För att undersöka detta samband används en komparativ metod. I botten för karaktärsanalysen ligger Shlomith Rimmon- Kenans modell för karakterisering. Uppsatsen visar att huvuddragen hos karaktärerna i The Tempest speglas i karaktärernas motparter i The Collector. Miranda är godhjärtad, empatisk, modig, naiv, romantiserande, oskuldsfull och överlägsen. Ferdinand och Caliban kommer båda till uttryck i Cleggs karaktär, där den förra sidan är naiv, romantiserande, civiliserad, i kontroll över sin sexuella drift och hederlig; medan den senare sidan är omänsklig, en skurk, våldsam, ociviliserad, inte kan kontrollera sin sexuella drift, oförmögen att förändras och inte visar någon ånger. Jämförelsen mellan verken bidrar även till att belysa det slavmotiv som förekommer i The Collector och tar uttryck dels i den inre kamp som pågår mellan Cleggs två alteregon samt i hans relation med Miranda.

Este trabalho descreve um ataque que detecta as teclas pressionadas em teclados mecânicos pela análise das vibrações geradas quando as mesmas são pressionadas. Dois equipamentos foram experimentados no ataque: um teclado genérico de automação comercial e um terminal de ponto de venda (POS / PIN-pad). Acelerômetros são utilizados como sensores de vibração. Propositalmente, o equipamento necessário para a execução do ataque é de baixíssimo custo, de modo a ressaltar o risco das vulnerabilidades encontradas. Obtivemos taxas de sucesso médio de 69% no reconhecimento das teclas pressionadas para o terminal PIN-pad em repouso e 75% para o mesmo sendo segurado na mão. No caso de teclado de automação comercial, as taxas médias de acerto ficaram em torno de 99%. / This work describes an attack that identifies the sequence of keystrokes analyzing mechanical vibrations generated by the act of pressing keys. We use accelerometers as vibration sensors. The apparatus necessary for this attack is inexpensive and can be unobtrusively embedded within the target equipment. We tested the proposed attack on an ATM keypad and a PIN-pad. We achieved the key recognition rates of 99% in ATM keypad, 69% in PIN-pad resting on a hard surface and 75% in PIN-pad hold in hand.

Este trabalho descreve um ataque que detecta as teclas pressionadas em teclados mecânicos pela análise das vibrações geradas quando as mesmas são pressionadas. Dois equipamentos foram experimentados no ataque: um teclado genérico de automação comercial e um terminal de ponto de venda (POS / PIN-pad). Acelerômetros são utilizados como sensores de vibração. Propositalmente, o equipamento necessário para a execução do ataque é de baixíssimo custo, de modo a ressaltar o risco das vulnerabilidades encontradas. Obtivemos taxas de sucesso médio de 69% no reconhecimento das teclas pressionadas para o terminal PIN-pad em repouso e 75% para o mesmo sendo segurado na mão. No caso de teclado de automação comercial, as taxas médias de acerto ficaram em torno de 99%. / This work describes an attack that identifies the sequence of keystrokes analyzing mechanical vibrations generated by the act of pressing keys. We use accelerometers as vibration sensors. The apparatus necessary for this attack is inexpensive and can be unobtrusively embedded within the target equipment. We tested the proposed attack on an ATM keypad and a PIN-pad. We achieved the key recognition rates of 99% in ATM keypad, 69% in PIN-pad resting on a hard surface and 75% in PIN-pad hold in hand.

Thesis (M.A.)--University of Wyoming, 2009. / Title from PDF title page (viewed on July 29, 2010). Includes bibliographical references (p. 61-64).

International Telemetering Conference Proceedings / October 25-28, 1999 / Riviera Hotel and Convention Center, Las Vegas, Nevada / To meet the security constraints for mission control rooms; the rooms must interface to other systems via fiber optic cable. Analog data from DAC (Digital to Analog Converter) outputs were initially brought into the rooms on copper wire. This paper outlines the conversion to fiber optic cable using the AMD TAXI chips in our Optical Digital Interface (ODI).

Shakespeare criticism has been a rapidly evolving field of literary studies. Scholars such as Francis Barker and Peter Hulme, Meredith Anne Skura, Stanley Wells, Harold Bloom and Sidney Shanker have continuously developed new theories and dismissed previous theories. In this essay, I discuss the negative results of such attitudes and the problems of “over-reading”, in the critiques which are based on the following theories: the post-colonial, psychoanalytical, biographical and ideological. I elaborate on the relevant arguments and issues within literary critique mentioned by Michael Taylor in his book Shakespeare Criticism in the Twentieth Century. To create a common ground for the theories, I have used critical texts concerning William Shakespeare’s The Tempest. I find that while all forms of literary critique have flaws, the theories also contribute valuable insights for further readings. I maintain that combining several forms of literary critique when analysing a text will create a more complex and in-depth reading, impossible to achieve through a singular critical theory.

The use of supernatural beings in four of Shakespeare’s plays – A Midsummer Night’s Dream, Romeo and Juliet, Macbeth, and The Tempest – is examined in order to show the change in Shakespeare’s thinking about magic, and how the mortal and supernatural can co-exist. The shift from properly controlled benevolent female power, to out-of-control malevolent female power, to the eradication of female power and triumph of the male magus is examined; the ideal co-existence of the human and supernatural worlds is assessed.

Thesis advisor: Andrew Sofer / In this thesis, it is my task to explore Shakespeare’s social analysis concerning the patriarchal structure of the family and the economic implications of this system. Four plays in particular, King Lear, Henry IV, As You Like It, and The Tempest resonate with these thematic elements. At the heart of these plays is the issue I call the paternal dilemma; the father or patriarch is a mere human, cannot live forever, and therefore needs to rely on an inheritance scheme to ensure the continuation of his line. This problem sees the institution of inheritance (namely, primogeniture) as a solution or antidote to mortality. In an investigation of these issues, I place myself in an already rich field of secondary criticism, examining how genre and family structure combine in what is ultimately a conservative understanding of the Elizabethan family. / Thesis (BA) — Boston College, 2010. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: English Honors Program. / Discipline: English.

Student Number : 8701228T - PhD thesis - School of Literature and Language Studies - Faculty of Humanities / The argument that unfolds throughout this thesis represents the development of my own understanding of the Renaissance conception and application of alchemical theories and philosophies, especially as it applies to my appreciation of the works of two of the crucial figures of the period – Shakespeare and Ben Jonson. These men were far more than entertainers. They were committed to their art as an essential component in the shaping and maintenance of the societal conscience. As dramatist-philosophers, they not only treated issues of topical interest and debate around the individual in relation to individual, and the individual in relation to the larger worlds of nature and politics, but also provided learned and insightful comment on the possible nature and function of the individual soul/mind in relation to itself. My deepening sensitivity to and comprehension of early modern alchemical philosophies and practices as apt analogies for psychological development led me to believe that Jonson and Shakespeare, separately though similarly, externalized, or dramatized, the inner trajectory of self-knowledge. This thesis, then, represents my own exploratory expedition into Renaissance epistemological thought as embodied in various alchemical texts. The correlations between alchemy and early modern psychologies become more apparent with each chapter. In the opening chapters, the historical and intellectual context for an hypothesis of a Renaissance psychology is set out. Chapter Three focuses on Renaissance conceptions of self-knowledge. The classical dictum of nosce teipsum is explored in relation to a range of contemporary alchemical arguments about the nature of philosophy and knowledge. In Chapter Four, I present a proposal of a Renaissance ‘model’ of psychological development, which may be seen to be analogous to the alchemical process as widely understood and depicted in the literature of the time. The fifth chapter is a ‘bridge’ between the foregoing thesis and the expository analysis of Ben Jonson’s The Alchemist and Shakespeare’s The Tempest: it particularizes the foregoing argument and attempts to come to some apprehension of Jonson’s individual conception of self-knowledge and psychological development. The sixth chapter demonstrates this apprehension in relation to Jonson’s The Alchemist. Shakespeare’s The Tempest is thus seen as being in direct conversation with both Jonson’s The Alchemist, and with the philosophical and artistic trends of the period. In Chapter Seven, I explore the evidence that Shakespeare was drawing from a ‘common pool’ of intellectual material with Jonson. However, I also suggest that Shakespeare presents a differing, though in some ways complementary, view of self-knowledge. Both Shakespeare and Jonson, I propose, are drawing on alchemical language and imagery to present contrasting characterizations of human potential and evolution. In effect, the respective dramatic texts present two distinct conceptualizations of the ‘philosopher’s stone’, which, in turn, suggests two models of human perfectibility that seem to be poles apart. These two works, however, are undeniably related and mutually effective within the Renaissance crucible of alchemy.